Bootcut - De Fluff (2006)

First, they measured the drag force of the organ and drums. Without much hope of success; but the experience turned out to be successful. A couple of years later, Rickard Sjöblum and Petter Diamant launched a new wave of experiments under the guise of Bootcut. The instigator of the action added a Clavia Nord Electro 2 device (a digital emulator of “vintage” electromechanical keyboard instruments), as well as the cult monophonic ARP Pro-Soloist synthesizer to the Hammond donated by his parents. Petter, unlike his friend, did not split hairs. Drums, percussion + “artistic” whistling - that’s his entire arsenal. As for the game formula, the duo initially expected to take a slightly different route. Regular performances on the stage of the jazz club in Govle’s hometown in the company of fellow musicians, as well as the increased ambitions of the leader, who simultaneously spun the flywheel of the Beardfish project, also had an impact. In short, I wanted to arrange everything “in an adult way.” With pipes, guitar and other "gentleman's kit". Producer William Blackmon approved the idea. And in May 2004, the doors of the local Overlook Studio let in the seasoned merry fellows Bootcut...
Of the twelve tracks, seven were implemented in tandem format. The rest are decorated with the presence of guests. In the opening piece "Fresh Free Fruit" there are two of them - trombonist Peter Fredriksson and saxophonist Kristoffer Liljedahl. The start is based on a proven technique - a powerful fill of electric organ and drums. Perhaps “unsatisfied” by the passages of the brass players. "Funck the Living Dead" lives up to the deliberately misspelled spelling of its title. It's really funk, but it's oddly tongue-in-cheek, full of syncopations and weird time signatures. The retro sketch "Quintus Quest" mixes equal parts of the proven "cocktail lounge" theme with adventurous cartoon intonations. The main compositional threads here lead to Sjöblum, but only one thing is required from Diamant - stable retention of the rhythm, and Petter copes with the task as adequately as possible. The frivolous "Aerobreaking" frame is securely hidden under a layer of nostalgic gilding. In essence, it is a repetition of what was once passed, however, it sounds charming, reckless, extremely “tasty”, with a hooligan verbal twist in the finale. To perform the disco-funk “Soul P.D,” Rickard called shred guitarist Per Nilsson from the death metal band Scar Symmetry into the studio. He was accompanied by vocalist Christer Joderlund, whose vocoded recitatives and passionate laments lay with skillful stitches on top of the driving panorama. Similarly good is the traditional Scandinavian jazz waltz with a folk twist (“Istället för att Jag kom till Skogen kom Skogen till Mig”), after which the comrades launch into a plague-filled adrenaline dance (“Hang em' High”). “Hot Chocolate” with the flute part of Rasmus Diamant resembles a warm-up for Beardfish’s future achievements, but the obscene sketch “Mystic Dildo” served as dessert literally oozes with non-verbal humorous nectar. A moment of relaxation is the jazz ballad "Immortal Session" (on double bass - Petter's brother, Rasmus), after which Bootcut has a nice little hop in the form of the "Hammond schizorama" "Crazy Cookie". “De Fluff” ends with the virtual “karatesh” battles of the opus “M.U.T.T.A.” featuring DJ D-Cuts and guitar monster Fredrik Andersson from Hybrid Freak Division.
To sum it up: a great record. Although not as complete as the first-born, she is quite worthy of a B plus. Enjoy your acquaintance, gentlemen, music lovers.